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Beyond the Set

Good cinematography is about more than equipment. It's expertise. Knowing the right lighting and the right angle is critical to achieving the Director's vision. Having worked for more than seven years as a professional DP and Camera Operator, I have the experience to make your subject shine. 

I'm equally at home on a sound stage or location. Each has its own benefits and challenges. On a sound stage, a good DP works in tandem and manages their crew with respect and dignity, not stepping on toes and micromanaging. It requires careful, detailed planning. On location, the DP needs to adapt to a much smaller crew, helping out wherever needed. It also means that you sometimes need to make adjustments to your plan and be more flexible. I can help you tell the story in a way that satisfies the creative needs as well as the Producer's bottom line. I work fast, with many setups a day, but with the detail-oriented skill of someone who's been in the business a long time.

It doesn't end after the shoot, either. I can assist you in creating a workflow with the digital cinema footage that matches your NLE and production requirements, and sit in on color-grading sessions. Or, if you'd rather, I can simply deliver fully colored and converted footage to you ready to edit.

My rates include all camera, lenses, and support equipment listed below. I can also shoot on a rented Arri Alexa or RED Epic, or on 35mm cameras from Panavision, Arri or Movicam -- we simply swap out the camera using my lenses and support.

Give me a call and tell me about your project. Let's work together.

Digital Cinema

Although I trained on traditional 35mm film equipment and linear editors, I was an early adopter of Digital Cinema. Digital production is easier, less costly and more efficient than 35mm film.

I refuse to sacrifice quality for ease of use. I only use top-of-the line 35mm film gear on my digital cameras. My lenses of choice are Cooke S4/i primes. They offer Hollywood quality images and have a key benefit over their German counterparts -- they soften skin tones ever so slightly, giving actors a glowing complexion even at resolutions much greater than HD. Hundreds of Hollywood films use S4's. Cheap glass meant for still shooters (Nikon, Canon, etc.) wasn't designed for the needs of motion picture production and simply cannot compare.

Equipment Available

  • Red One M-X Digital Cinema Camera
  • Cooke S4/i Lens set (18mm, 25mm, 35mm, 50mm, 75mm)
  • Lensbaby PL Special-effects Lens set (3 variable focal lengths)
  • Sachler Studio Tripod system
  • Chiroziel Full-size 6x6 Mattebox system
  • Chiroziel Follow Focus
  • 23" Director's Monitor
  • 5" On-Camera Monitor
  • A wide array of 6x6 glass filters for in-camera effects

My Resume

A downloadable copy of my resume is available below.